Octava Conferencia Interamericana De Educación Musical 30 De Septiembre Al 4 De Octubre De 1991
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Octava Conferencia Interamericana de Educación Musical 30 de Septiembre al 4 de Octubre de 1991 T HE EIGHTH INTER-AMERICAN Music Education Herrera (Chile), lgor Lanz (Venezuela), and Fer Conference held at Washington, D.C., September 30 nando Lozano (Mexico). Dr. Emma Garmendia, to October 4, 1991, enjoyed the sponsorship of the Director of the Latín American Ccnter for Gradu Organization of American States, CIDEM (Consejo ate Studies in Music (LAMC), the Benjamín T. Interamericano de Música), IAMF (lnter-American Romc School of Music, The Catholic University of Music Friends), The Catholic University of America, America, was Principal Speaker at the Thursday and the lnter-American Development Bank. At the morning session during which Conclusions, Resolu inaugural ceremony, held in the Andrés Bello Au tions, and Recommendations were drafted. lnspir ditorium ofthe BID, 1300 Ncw York Avenue NW, ing rcmarks from Alfredo Henares, President of the Washington, D.C., delegates to the Conference Cultural Activities Committee of the BID, and by received greetings from Dr. Enrique Iglesias, Presi Professor Efraín Paesky-who from beginning to dent of the Banco Interamericano de Desarrollo, end was, with his illustrious wife, the soul, the ispir from Ambassador Joao Clemente Baena Soaues, ing force, and the constan! befriender of every con Secretary General of thc Organization of American structive moment in the Conference-brought thc States, from Ambassador Luigi R. Enaudi, Perma weck to its close. nent Representative of the USA to the OAS, from On the motion of Dr. Emma Garmendia, the Jaime González Oliver, President of CIDEM, from following allocution given as the keynote address to Efraín Paesky, Secretary General ofCIDEM, from the Conference, was selected for translation by Dr. Elaine Walter, Dean of the Benjamín T. Rome Leonardo Manzino (Uruguay) for circulation to School of Music of The Catholic University of prominent Latín American music educators unable America, and from Samuel Hope, Executive Direc to attend the sessions of the Eighth Conference in tor, National Association of Schools of Music of the person. The keynote speaker began by reminding United States. the Conference participants that among the Incas, In the order of their appearance, the following the numbcr eight symbolized power. Therefore the delegares read papers or participated in panel dis Eighth Conference held on the eve of the Columbus cussions: Guillermo Scarabino (Argentina), Ruth Quincentennial had every right to join hands with Steiner (USA), Nicolás Suárez Eyzaguirre (Bolivia), rulers of thc largest empire in pre-Columbian Leila Josefina Pérez y Pérez (Dominican Republic), America-who in their most productive forays Rosario Álvarez (Spain), Dieter Lehnhoff (Guate placed their faith in the number eight. The keynote mala), Manuel Carlos de Brito (Portugal), Margarita speaker continucd thus: Fernándet (Chile), Barbara Henry (USA), Isabel Palacios (Venezuela), James Pruett (USA), Alfredo All of as assembled here today are supremely Rugeles (Venezuela), Robcrt Austin Boudreau gratcful to thc organizcrs and sponsors of this wcek 's (USA), Gerald Brown (Costa Rica), Margarita events. May 1 start my tribute to the organizers of 129 130 INTER-AMERIC' AN MUSIC' REVIEW thi!. week 's events by offering congratulations 10 Mersenne, who died at París aged around 60 in 1648, Jua representatives here present today from Argentina, included Jcan de Léry's Tupynambá melody tran of Bolivia, 13razil, Chile, Colombia, and the rest of the scriptions in his Harmonie universelle as proof that por OAS romance-speaking nations-warmest congratu American indigenes knew the diatonic scale instinc sign lations and felicitations because it is you who can tively, and never sang chromatic melodies. Mer sorr take pride in the most long-lived and loftiest musi senne's assertion was repeated more than a century p cal heritages enjoyed by any nations in the Western later in Jean-Jacques Rousseau's Dictionnaire de la pro Hemisphere. musique (first editan, 1767). oni The United States enjoys no comparable heritage. May we emphasize what priorities are enjoyed by qua Compared with the musical history of those nations nations to the south of us by repeating what advan per now occupying territory once ruled by Aztecs and tages they can boast over the United States: (1) the pez Incas our musical history began yesterday. The first first composcrs (2) the technical superiority shown edl composer born north of the Rio Grande was William in the earliest surviving music by composers who ap¡ Billings of Boston, Massachusetts, whose dates are made their careers in Mexico, Guatemala, Peru, and of 1746-1800. But Bolivia, Colombia, Guatemala, the like, as contrasted with the homespun qualities la ti Mcxico, and Peru boast composers already active in of fuging tunes and anthcms by the tanner William Sal 1he sixteenth century. All that William Billings who Billings, the comb maker Daniel Read, and the 161 was a tanner by trade knew of music theory, he had breeder of horses Justin Margan (3) hand-in-hand by learned from country teachers who travelled a rural with the technical competence of such masters as Zu circuit in England, chiefly William Tans'ur (1706- Hernando Franco (who died at Mexico City in 1585 fo 1783). On thc other hand, Francisco López Capillas, after a notable thirty-year career in Guatemala and Ju who was born at Mexico City in about 1604 and died in Mexico) and of Gutierre Fernández Hidalgo (who A1 there J anuary 18, 1674, in t he full flush of his crea moved in the late 1580's from Bogotá to Quito, then ex tive powers, himself wrote a music trcatise to preface to Lima, to Cuzco, and finally to the capital of the his Missa super Scalam Aretinam. In the treatise he Andiencia de Charcas, now named Sucre) went their ta testifies to his acquaintance with such great masters documented teaching skills. At what is now Sucre, re ,\j of European polyphony as Jean Mouton who died Fernández Hidalgo completed five thick volumes of at París in 1522, Jean Richafort who was a choir polyphony in the first decade of the sevcnteenth cen e master at Bruges from 1543 to 1547, and Cristóbal tury. Joining Hernando Franco and Gutierre Fer o¡ de Morales, who published books of Masses at nández Hidalgo, at least another two dozen notable fe Rome in 1544 that circulatcd only ten years lateras composers nourished in Mexico, Central and South Ie JI far away from Romeas Cuzco, ancient capital of the America befare 1776, their surviving works giving Incas. The first publication in English America con proof of their greatness. Hand-in-hand with their e taining any music appeared at Boston in 1698 as a technical competence that enbaled them to cultivate e componen! of the ninth edition of the Bay Psalm all the larger forms of musical composition preva SI Book. In contrast music publication began at Mex len! during the sixtcenth, seventeenth, and eighteenth sl ico City as early as 1556. The first Western Hemi centuries, hand-in-hand with that cxpertness in 1 sphere publication to contain any polyphonic music, counterpoint went a vast acquaintance with the best h that is to say music in severa) parts, soprano, alto, historie and contemporary works produced overseas. n tenor, and bass, appearcd at Lima, Peru, as early as In the same century as Sor Juana Inés de la Cruz, the 1631. What is all the more interesting is the lan "tenth muse," showed herself a paragon of learn guage. Instead of Spanish the words of the 1631 ing that included close acquaintance with Pedro Ce processional hymn, beginning Hanacpachap cussi rone's El melopeo y maesrro (a treatise which she cuinin are in Quechua, language of the Incas. For annotated), Mexico City bookshops sold such a ~till another priority, the first mclodies by any monumental successor treatise as Andrés Lorente's Westcrn Hemisphere lndian tribe to be recorded in El porqué de la música (Alcalá de Henares, 1672). music notation were taken down as early as 1557. The leading 1\lcxican-born playwright of the century, They were transcribed by a French traveller in the Juan Ruiz de Alarcón, intcrspersed musical allusions ncighborhood of Rio de Janeiro, Jean de Léry. The in his dramas that prove him to have been no Jess five Tupynambá melodies which he notated played musically knowledgeable than Lope de Vega. But a historie role in European music treatises. Marin while Iiterary frontrunncrs such as Alarcón and Sor Octavo Conferencia Inreramericana de Educación Musical 131 Juana made their poetry and plays still the staples y Aparicio began being recorded by the distinguishcd of literary history, their Mexican-born contem Roger Wagner Chorale and issued by Angel Rccords poraries of the same century who excelled no less as long ago as 1966. At present fivc Long Plays have significantly in music remain for too many of us have been issued at Los Angeles in thc Eldorado somewhat shadowy figures. series. Among the composers recorded in the Eldo For a composer's works to be appraised and rado series are not only all those whose names havc properly appreciated, they must be performed, not already been mentioned, but als·o Pedro Bermúdez only performed, but in our day, performed adc who served as maestro de capilla at Cuzco, Antigua quately and recorded. What choral groups are now Guatemala, and Puebla at the turn of the scven performing the choral masterpieces of Francisco Ló• teenth century, Gaspar Fernández who succccdcd pez Capillas, born at Mexico City in about 1604, Bermúdcz at Puebla wherc he died in 1629, Manuel educated at the University of Mexico and at Puebla, de Zumaya who ended his carecr at Oaxaca in 1755, appointed in 1654 director of music at the Cathedral and José Maurício N unes Garcia born of an African of Mexico City in which city he died two decades mother and Portuguese father in 1767 at Río de later? Or the choral masterpieces of Antonio de Janciro wherc he died in 1830.